{"id":1923,"date":"2024-10-26T18:00:01","date_gmt":"2024-10-26T10:00:01","guid":{"rendered":"https:\/\/weijinchun.com\/?p=1923"},"modified":"2026-07-24T15:21:18","modified_gmt":"2026-07-24T07:21:18","slug":"off-to-elsewhere-der-greif-munchner-kammerspiele","status":"publish","type":"post","link":"https:\/\/weijinchun.com\/en\/off-to-elsewhere-der-greif-munchner-kammerspiele\/","title":{"rendered":"Wei Jinchun\u2019s Work Selected for Off to Elsewhere, a Joint Project by M\u00fcnchner Kammerspiele and Der Greif"},"content":{"rendered":"
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We all long to be elsewhere. But what does the world look like in this \u201celsewhere\u201d? M\u00fcnchner Kammerspiele\u2019s call to venture elsewhere offers us a ticket for an imaginative journey of the mind. The forty photographs selected by \u00c7a\u011fla Ilk, co-director of Staatliche Kunsthalle Baden-Baden and curator of the German Pavilion at this year\u2019s Venice Biennale, serve as possible stopovers, points of departure, and destinations. They were made by 40 artists from 25 countries, ranging in age from 26 to 74. Rooted in different places around the world, the guidance these images offer extends beyond geographical boundaries.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Nowhere to Go \u00a9 Milena Villal\u00f3n <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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What matters to each of us is less whether these images actually reveal \u201celsewhere\u201d than the responses they evoke within us. As a medium that makes things visible, photography often diverts our attention from what a photograph does not show. Photographic theory borrows the term \u201cblind field\u201d from film theory to describe these invisible dimensions. The blind field encompasses everything that has happened, is happening, or will happen beyond the frame. It exposes the information missing from every image while suggesting a wealth of associations and possible interpretations. The power of a photographic image lies precisely in what it projects beyond its frame: the blind field.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Untitled \u00a9 Giacomo Tazzini<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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When we look at an image, we instinctively fill in what the photograph leaves out: What happened before? What are the surroundings like? Who is the person in the photograph? Who is the photographer? We bring our associations, memories, emotions, and personal perspectives to the work. This is what makes the imagined journey to \u201celsewhere\u201d a personal one. In doing so, we enter the space beyond the photograph\u2019s frame.

Behind every photograph lies a performative and transformative capacity to imagine and shape ideas through the reality before the lens. These ideas are shaped not only by photographers and image-makers but also by us as viewers. This is even more evident in generated images, where an idea is explicitly articulated and given form.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Nothing but Fake Friends Online \u00a9 Anna Pentzlin<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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In The Darkroom: Photography and the Theatre of Desire (2003), Australian art critic and theorist Anne Marsh explores the close relationship between photography and performance, treating the camera as an instrument for recording desire. Those in front of the lens and those behind it engage with reality performatively, ultimately depicting the world or themselves as they wish others to see them. In this sense, as Marsh writes, \u201c(Photography) is a theatrical arena in which the subject can play out his or her desire.\u201d

Rooted in desire, \u201celsewhere\u201d moves between outer and inner spaces. As spaces of projection, photography and theater allow mental, real, and subjective dimensions to converge. The photographic image thus becomes a threshold between inner and outer places, for which \u201celsewhere\u201d is the only adequate description.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Off to Elsewhere is the theme of M\u00fcnchner Kammerspiele\u2019s 2024\u20132025 season, which opened on September 14 at the Therese-Giehse-Halle alongside a photography exhibition. It was also the call issued by Der Greif, the German contemporary photography organization, inviting its global community of photographic artists to submit visual responses to the theme.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Exhibition opening<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The open call received more than 1,000 submissions from 82 countries, from which curator \u00c7a\u011fla Ilk selected 40 works. On September 14, as part of the Various Others festival, the selected works were carried in a performance from the theater\u2019s workshop to the Therese-Giehse-Halle. On view for three months, they form a visual bridge between interior and exterior spaces, connecting the municipal theater with interpretations of \u201celsewhere\u201d by artists from around the world.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u201cI Love You, China,\u201d from the series Tangshan, 2023 \u00a9Wei Jinchun <\/span><\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A work by Chinese artist Wei Jinchun was selected for the exhibition and is currently on view at M\u00fcnchner Kammerspiele in Munich, Germany. As one of 20 artists featured in the exhibition\u2019s publicity campaign, Wei Jinchun has a work displayed as a large-format poster in public spaces across Munich, bringing it to a wider audience and promoting the exhibition.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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On the streets of Munich, Germany<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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To accompany the exhibition, Der Greif released a special publication comprising eight large A2 posters folded to A4. The format deliberately echoes the campaign displayed in public spaces. Eight of the 40 works appear at full size, while the remaining 32 are combined on the reverse sides of the posters to create new and suggestive image groupings. At the exhibition, visitors can also create and rearrange their own image combinations on an interactive magnetic wall featuring all 40 works.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Der Greif special publication<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Off to Elsewhere also responds to \u201cDon\u2019t Leave Reality Alone,\u201d the motto Barbara Mundel introduced when she became the theater\u2019s artistic director in 2020. Photography\u2019s relationship with reality is both its greatest strength and its greatest limitation, because no photograph truly \u201cleaves reality alone.\u201d Even when we regard a photograph as a simple depiction of reality, the captured, frozen moment we see is highly limited and partial in its time, place, and perspective. Abstraction therefore exists even within representational images. This is still more apparent in artificially generated images, which suggest a representation of reality through visual language alone.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Miracle Oracle \u00a9 Stepan Chubaev<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The collaboration between Der Greif\u2019s visual world and the municipal theater\u2019s programming pursues a goal both serious and playful: to encourage each of us to begin by recognizing our own associative perception as a reality, and thereby find a personal route to \u201celsewhere.\u201d

Photography and theater both have the capacity to bring mental, real, and subjective dimensions together in a \u201cspace of projection.\u201d This interdisciplinary collaboration may be unusual, but the variety of forms it takes demonstrates a refreshing symbiosis.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mirror \u00a9 Armin Amirian<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Untitled \u00a9 AnaHell<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Curator \u00c7a\u011fla Ilk<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c7a\u011fla Ilk was invited by M\u00fcnchner Kammerspiele to serve as guest curator for the open call. In March 2023, she was appointed curator of the German Pavilion at the 60th International Art Exhibition\u2014La Biennale di Venezia. Since 2020, she has co-directed Staatliche Kunsthalle Baden-Baden with Misal Adnan Y\u0131ld\u0131z. Ilk works across theory and practice at the intersections of visual art, architecture, sound, theater, and performance. She uses dramaturgy as a curatorial method, bringing an interdisciplinary approach to her practice. Rather than presenting exhibitions as static forms, she seeks to reveal transformation and make processes of transition visible through changing events and installations.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Monument, No. 2, Saint Thaddeus Monastery \u00a9 Mehdi Moghimnejad<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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M\u00fcnchner Kammerspiele<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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M\u00fcnchner Kammerspiele is one of Germany\u2019s leading theaters, known for innovative contemporary theater. It attracts outstanding artists and offers distinctive conditions for their work. By bringing new and previously unseen work to the stage, it addresses the urgent questions of our time. Open, welcoming, and self-assured, the theater seeks to be a space where audiences can imagine and shape our future. As a municipal theater, M\u00fcnchner Kammerspiele is closely connected to Munich and its history. It takes up the city\u2019s concerns and places them in an international context. It is a place of curiosity, encounter, and critical reflection.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Virtual Reality Headset \u00a9 Sveta Kaverina<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Der Greif<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Der Greif is an award-winning contemporary photography organization with an international reach. Through crowdsourcing, it brings together diverse voices and provides a platform and visibility for young and emerging artists and their work from its global community. Since 2008, Der Greif has explored changing perceptions of authorship, the decontextualization and recontextualization of images, appropriation, and artistic approaches to photographic archives and remix culture. In collaboration with institutions including Foam, Aperture Foundation, Pinakothek der Moderne, Grisebach, C\/O Berlin, and Fotomuseum Winterthur, it has published work by approximately 4,000 photographers, artists, and writers in print and online.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Selfie in a Heat Protection Suit 2 \u00a9 Tino Kukulies<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Participating Artists<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Alvin Ng, AnaHell, Anna Pentzlin, Anqi Li, Armin Amirian, Berk K\u0131r, Camilla Gorini, Chlo\u00e9 Milos Azzopardi, Christian Nicolay, Cyriaco Lopes, Elena Paraskeva, Ernesto Solana, Fenqiang Liu, Florian Luthi, Forrest Simmons, Giacomo Tazzini, Grzegorz Piotrowski, Hannah Woolf, Igor Schiller, Inna Piskun, Wei Jinchun, Julia Walk, Lars Borges, L\u00ea Quy\u00ean Nguy\u1ec5n, Lisa Gro\u00dfkopf, Marco Castelli, Marvin Zilm, Mehdi Moghimnejad, Melanie Schoeniger, Milena Villal\u00f3n, Oliver Kartak, Paul Hiller, Samet Durgun, S\u00e1ri Zagyvai, Saxon Baird, Stepan Chubaev, Sveta Kaverina, Tino Kukulies, Yolanda Y. Liou and Zita Frohloff.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Untitled \u00a9 Zita Frohloff <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The works shown above are a selection from the exhibition. All rights reserved by the respective artists.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

In 2024, Wei Jinchun\u2019s work was selected for Off to Elsewhere, a joint project by M\u00fcnchner Kammerspiele and Der Greif. Curated by \u00c7a\u011fla Ilk, curator of the German Pavilion at the Venice Biennale, the exhibition brought together work by 40 artists from around the world to explore photography\u2019s \u201cblind spots\u201d\u2014what lies beyond the image\u2014and viewers\u2019 psychological projections. Wei\u2019s photograph I Love You, China, from Tangshan, was exhibited at the theater and selected for display as a large-format poster in Munich\u2019s public spaces.<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[11],"tags":[],"class_list":["post-1923","post","type-post","status-publish","format-standard","hentry","category-exhibitions"],"_links":{"self":[{"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/posts\/1923","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/comments?post=1923"}],"version-history":[{"count":4,"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/posts\/1923\/revisions"}],"predecessor-version":[{"id":2078,"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/posts\/1923\/revisions\/2078"}],"wp:attachment":[{"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/media?parent=1923"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/categories?post=1923"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/weijinchun.com\/en\/wp-json\/wp\/v2\/tags?post=1923"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}